Дисертації з теми "Abortion – History – Comic books, strips, etc"
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Leland, Jennie. "The Phoenix Always Rises: The Evolution of Superheroines in Feminist Culture." Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/LelandJ2007.pdf.
Повний текст джерелаGagnon, Michel 1969. "Eléments discursifs, sociolinguistiques et actes de parole dans les BD." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29824.
Повний текст джерелаPlowman, Nicola Streeten. "A cultural history of feminist cartoons and comics in Britain from 1970 to 2010." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/70775/.
Повний текст джерелаVan, Staden Leonora. "Bitterkomix en Stripshow : pornografie en satire in Afrikaanse ondergrondse strippe." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1330.
Повний текст джерелаSmida, Megan Alice Moore Alan. "(Re)telling Ripper in Alan Moore's From hell : history and narrative in the graphic novel." Dayton, Ohio : University of Dayton, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1272574121.
Повний текст джерелаTitle from PDF t.p. (viewed 06/23/10). Advisor: James Boehnlein. Includes bibliographical references (p. 44-46). Available online via the OhioLINK ETD Center.
Breytenbach, Jesse-Ann. "A critical analysis of South African underground comics." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002192.
Повний текст джерелаGaudry, Frédéric. "Principales caractéristiques de l'esthétique de la bande dessinée et leur application à Chlorophylle." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq25587.pdf.
Повний текст джерелаBoluk, Stephanie. "The voyager and the visionary : the self as history in Palestine and Louis Riel." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82685.
Повний текст джерелаRohrdanz, Jessica Lynn. "Superheroes for a Superpower: Batman, Spider-Man and the Quest for an American Identity." Connect to resource online, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1242442545.
Повний текст джерелаRawson, Angela. "A critical linguistic analysis of a popular comic genre in Japan." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1021.
Повний текст джерелаKannemeyer, Anton. "Ikonoklastiese strip, polemiek en Bitterkomix." Thesis, Stellenbosch : University of Stellenbosch, 1997. http://hdl.handle.net/10019.1/946.
Повний текст джерела168 leaves printed single pages,preliminary pages and numberd pages 1-70.Includes bibliography and 115 illustrations.Digitized at 600 dpi grayscale to pdf format (OCR),using an Bizhub 250 Konica Minolta Scanner.
ENGLISH ABSTRACT: This study considers the history and problematics of the contemporary comic strip, particularly in regard to issues of controversy and iconoclasm. Special attention is paid to the local magazine, Bitterkomix as an example. In Chapter One, the comic medium is identified and discussed as a homogeneous art form. Its independence from both fine arts and literature is explained and the identifying, intrinsic characteristics of the medium are used as a basis for the analysis of form and meaning in selected contemporary comics. Chapter Two provides a brief history of iconoclasm, subversion and controversy surrounding selected comics from the 1950's up to the present. The emphasis is placed on pivotal developments in the medium, particularly in the United States. A link is suggested between the post-war affluence of the American society and the conservative values which underpin it. Because of the many similarities which exist between the value systems of white South Africa and those of the more conservative states of the U.S., a contextual parallel is mooted which identifies the development and impact of controversial comics abroad and the reception which Bitterkomix encountered in South Africa. Chapter Three outlines and analyses this connection, emphasising that Bitterkomix has to be seen in the wider historical context and not simply as an expression of a parochial, "alternative"culture among young Afrikaners. In the final two chapters, satire and the use of stereotypes in the comic form is considered. The study pays particular attention to the publications, Gif, Afrikaner Sekskomix and Loslyf(an Afrikaans skin magazine) in order to establish connections between deviant sexual behaviour in a repressive society.
AFRIKAANSE OPSOMMING:In hierdie werkstuk word die geskiedenis en problematiek van die hedendaagse strip, veral die kontroversieIe en ikonoklastiese aspekte daarvan, aangespreek. As 'n voorbeeld word die aandag veral toegespits op die plaaslike tydskrif, Bitterkomix. In Hoofstuk Een word die stripmedium geidentifiseer en as homogene kunsvorm bespreek. Die medium se onafhanklikheid van beide die Skone Kunste en die Letterkunde word verduidelik en die identifiserende, intrinsieke kenmerke word basies toegepas vir die ontleding van vorm en betekenis in gekose, hedendaagse strips. Hoofstuk Twee bestaan uit 'n kort oorsig van die geskiedenis van ikonoklasme, ondermyning en kontroverse rondom geselekteerde strips vanaf 1950 tot die hede. Die k1em word geplaas op deurslaggewende ontwikkelings in die medium, veral in die Verenigde State. 'n Skakel word voorgestel tussen die na-oorlogse welvaart van die Amerikaanse gemeenskap en die konserwatiewe waardes onderliggend daaraan. As gevolg van die baie ooreenkomste tussen die waarde-sisteme van wit Suid-Afrika en die van die meer konserwatiewe state van die V.S., word 'n kontekstuele parallel vasgestel wat die ontwikkeling en impak van kontroversieIe strips in die buiteland en die reaksie op Bitterkomix in Suid-Afrika, identifiseer. Hoofstuk Drie skets en ontleed hierdie verbintenis en beklemtoon dat Bitterkomix in 'n wyer historiese konteks beskou moet word en nie slegs as 'n uitdrukking van 'n parogiale, "altematiewe" kuItuur onder jong Afrikaners nie. In die laaste twee hoofstukke word satire en die gebruik van stereotipes in die stripvorm oorweeg. Aandag word veral gegee aan die publikasies Gif: Afrikoner Sekskomix, en Loslyf( 'n Afrikaanse sekstydskrif) om kwessies van abnormale seksuele gedrag in 'n repressiewe gemeenskap aan te raak.
Silva, Luciano Henrique Ferreira da. "O gênero de horror nos quadrinhos brasileiros: linguagem, técnica e trabalho na consolidação de uma industria - 1950/1967." Universidade Tecnológica Federal do Paraná, 2012. http://repositorio.utfpr.edu.br/jspui/handle/1/354.
Повний текст джерелаThe first publications of horror comics edited by La Selva Publishing since 1950, started an publishing tradition that would last nearly 40 years in the Brazilian consume culture. The popularity of the horror genre in the Brazilian comics allowed the proliferation, survival and growth of many small publishers, mainly allocated on the suburbs of São Paulo. By the methods of importation and adaptation of editorial matter from La Selva Publishing , or because the search for emancipation and development of Brazilian artists by Outubro Publishing, the horror comics becomes an important material source to theoretical research about work practices, organization forms and methodology of Brazilian publishers from the 50’s and 60’s. Focusing the commercial exploitation of horror genre in these two decades, we will make a socio-historical approach of labor relashionship, production and consumption, in view of intermediation between different social groups involved in these processes. Correlating the interferences between language and technical codes among the media, we intend to demonstrate influences of media products and cultural industry to form new professional skills, methods and formats. Investigating the inheritance of methods, techniques and language of the legacy from the pulp fiction in pulp magazines, from which emerged new formats such as comic book and photo-romance magazines, we observe that the introduction of these new formats was caused by the need to change the choices of publishing towards massification. In this historical period of the consolidation of cultural industries and media convergence in the Brazilian cultural scene, we will compare the tradition of horror comics started by La Selva and Outubro, with the popularity of radio broadcast and motion picture film. In the filmography of José Mojica Marins and the popular character Zé do Caixão (Coffin Joe), we see a synthesis of the blend betwen technical language and the course of visual narrative, transported from comics to the movies, as the reuse of professionals related to the horror tradition in Brazilian comic. In the technical, discursive and socio-historical analysis about the selected works, we expose the vision of these social groups on technical development, and on the other hand, understand it as a result of interaction between multiple areas and social actors.
Huen, Yuk-wan, and 禤育昀. "The representation of space and cultural memory in Hong Kong independent comics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48334601.
Повний текст джерелаpublished_or_final_version
Literary and Cultural Studies
Master
Master of Arts
Beaty, Bart H. "Good expectations : adaptation and middlebrow literacy." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104369.
Повний текст джерелаLe but de cette thèse est de faire progresser la connaissance des manières dont les contexts discursifs de la lecture, de l’alphabétisation et de la culture étaient utilisés en Amérique, au milieu du vingtième siècle, afin de réifier la stratification sociale. Des exemples tels que la revue The Reader ‘s Digest et la bande dessinée Classics Illustrated seront utilisés, dans ce projet, pour illustrer l’adaptation et les idéologies autour de la forme textuelle. Cet ouvrage examine comment ceux qui proclamés par eux-mêmes élites culturelles, ont tenté d’identifier et de dénigrer les habitudes de lecture du lecteur moyen par des critiques dédaigneuses des textes et du public, en un procédé historique persistant de domination et d’exclusion. Ces voies d’exploration révèleront la complexité et la diversité des définitions du concept de classes à l’intérieur d’une démocratie pluraliste, lesquelles, somme toute, cotinuent de faire partie intégrante de la culture contemporaine. [Il manque de pages 101 et 102.]
Paz, Liber Eugenio. "Tecnologia e cultura nos quadrinhos independentes brasileiros." Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2946.
Повний текст джерелаThis study seeks to reflect on the meanings, senses, tensions and contradictions related to the term “independent” and its counterpart, the term “mainstream”, connected to the process of development of comics as a cultural formation. These reflections are guided by Raymond William’s set of ideas, especially the concepts of technology, hegemony and alternative, oppositional, residual, and emerging cultures. We structured the work in five moments. First, we approach comics as a cultural form and observe the relations between culture and technology in its process of formation. Next, we observe particularities of this process within the Brazilian context. In a third moment, we present Williams’ concepts on alternative cultures and anticipate the part devoted to the intense cultural manifestations of the 1960s and their unfolding. Finally, we attempt to give an overview of the scenario of changes that develops from the 1980s, emphasizing the comics published in Brazil. From the observation of the emergence and consolidation of events such as the HQ Mix Trophy and the comics fairs and biennials related to new publication and distribution processes, we sought to analyze the works and profiles of four contemporary comic authors and to better understand the meanings of terms such as "independent", "authorial", "commercial", "mainstream", "alternative" and others, commonly used in various comic book practices. Among the results obtained, we noticed that: many contemporary "independent" productions present thematic, stylistic and material characteristics practically indistinguishable from "mainstream" productions; some "mainstream" productions incorporate themes and proposals of cultures that are alternatives to hegemony; the use of the term “independent” often covers the unfavorable conditions of production and livelihood of several professionals; rigorously considering the opposing cultures as a set of actions of a revolutionary dimension, it is difficult to find works that effectively meet this condition.
Pereira, Priscila 1983. "Entre a épica e a paródia = a (des) mistificação do gaucho nos quadrinhos de Inodoro Pereyra, el renegau." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278675.
Повний текст джерелаDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-17T20:23:51Z (GMT). No. of bitstreams: 1 Pereira_Priscila_M.pdf: 27248639 bytes, checksum: 801076349c108b5c8a789f5258de65f3 (MD5) Previous issue date: 2011
Resumo: Esta pesquisa analisa as representações do gaucho nos quadrinhos de Inodoro Pereyra, personagem criada pelo humorista argentino Roberto Fontanarrosa na década de 70 do século XX. Nascido como uma paródia da literatura gauchesca, do radioteatro e do folclore argentino, a trajetória do renegau retoma a metáfora sarmientina civilização e barbárie, que atravessa não só a história deste país, mas se inscreve na tradição política de toda a América Latina. Neste sentido, através dos quadrinhos deste gaucho é possível rediscutir importantes questões que marcaram a história da República Argentina, tais como as oposições entre pampa e litoral, unitários e federais, nacionalismo e cosmopolitismo, e que compõem a imagem de uma nação dividida. Além disso, a epopéia vivida pela personagem permite que redimensionemos o tema "as duas Argentinas", tendo em vista que este quadrinho está transpassado por imagens relacionadas ao imaginário social desta nação
Abstract: This research analyzes the representations of the gaucho in the comics of Inodoro Pereyra, a character created by the Argentine comedian Roberto Fontanarrosa, in the 70s of the twentieth century. Born as a parody of Gauchesca literature, of radiotheater and of Argentine folklore, the renegau's trajectory retakes the sarmientina metaphor of civilization and barbarism, which crosses not only the History of this country, but also inscribes itself in all Latin America's political tradition. In this sense, through the comic of this gaucho, it is possible to rediscuss important issues that have marked the history of the Argentine Republic such as the oppositions between pampa and coast, unitary and federal, nationalism and cosmopolitanism, which composes the image of a divided nation. Moreover, the epopee experienced by the character allows us to resize the theme "two Argentinas". Considering that, this comic is transfixed by images related to the social imagination of this nation
Mestrado
Politica, Memoria e Cidade
Mestre em História
Dedman, Stephen. "Techronomicon (novel) ; and The weapon shop : the relationship between American science fiction and the US military (dissertation)." University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0093.
Повний текст джерелаSmurthwaite, James Edward. "Black Spider-Man – masks, power and identity in a 21st century superhero world." Thesis, 2017. https://hdl.handle.net/10539/24452.
Повний текст джерелаIn November 2011 Marvel Comics introduced the re-imagined incarnation of one of their top tier superhero characters, Spider-Man. Marvel proposed the new identity of the hero as Miles Morales, a 13-year-old boy of African American descent. It represents the first significant alteration to the character in almost half a century. Further, Marvel suggested that Miles is evidence of both their commitment to diversity, transformation and the representation of a multicultural society that includes different identity propositions. This study explores the enunciation on of Miles’ identity counterpoised with that of the normative discursive enunciation of heroism in comics within the context of intersectional politics. A central focus is the manner in which Miles’ rendering can be interpreted as discursively disruptive and transformative, especially in the depiction of race and class. The study views Marvel’s representation of Miles as not only a proposition of black postcolonial heroism but also that of the scaffolding of power and knowledge. It is the contention of this study that UCSM exhibits the markings of colonial and imperial discourse pertaining to identity politics, manifesting in the discursive strategy of mimicry and the mimetics of popular culture, that reveal firmly entrenched power relations limiting Miles’ autonomy. The analysis delves into the articulation of race in the circumscription and demarcation of identity, when read comparatively with classical heroism, supporting characters and the subjectivity of Miles’ white counterparts, notably his predecessor as Spider-Man, Peter Parker. Miles is imprinted with the pattern of disenfranchisement and labours under the weight of racialised identity politics that invoke the spectre of colonialism. Through the use of critical discourse analysis, postcolonial and critical theory the study brings to light the maintenance and structure of inequality, tacit discrimination and stereotypical identity that surfaces in a 21st century popular cultural text.
XL2018
"Beijing cartoon: a contested site of cultural production." 1999. http://library.cuhk.edu.hk/record=b5896334.
Повний текст джерелаThesis (M.Phil.)--Chinese University of Hong Kong, 1999.
Includes bibliographical references (leaves [135-140]).
Abstracts in English and Chinese.
Acknowledgement
Abstract
List of figures
Chapter Chapter 1. --- Introduction
Chapter 1.1 --- Scope of Study --- p.1
Chapter 1.2 --- Literature Review --- p.3
Chapter 1.3 --- Methodology --- p.13
Chapter 1.4 --- Structure of the Thesis --- p.17
Chapter Chapter 2. --- Historical Development of Comics in China
Chapter 2.1 --- Comics History before1949 --- p.24
Chapter 2 . 2 --- Comics under the Reign of Chinese Communist Party --- p.29
Chapter 2.3 --- Beijing Cartoon after the Open Door Policy --- p.31
Chapter 2.4 --- Concluding Remarks --- p.39
Chapter Chapter 3 . --- Interaction with the Leaders of Beijing Publishing House
Chapter 3.1 --- Leaders´ةExpectation for Beijing Cartoon --- p.41
Chapter 3.2 --- The Discrepancy between the Senior and Junior Editors --- p.51
Chapter 3.3 --- Editors' Comments on Interaction with the Leaders of the Beijing Publishing House --- p.54
Chapter Chapter 4. --- Interaction with the Senior Artists
Chapter 4.1 --- Cartoon Art Festival98 --- p.57
Chapter 4.2 --- The Invasion of Japanese Comics --- p.59
Chapter 4.3 --- The Essence of Comics with Chinese Features --- p.63
Chapter 4.4 --- The Expected Role of the Chinese Government --- p.67
Chapter 4.5 --- The Editors´ة Comments on Cartoon Art Festival98 --- p.68
Chapter 4 . --- 6 Concluding Remarks --- p.70
Chapter Chapter 5. --- Interaction with the Junior Artists
Chapter 5.1 --- Social Status of the Junior Artists --- p.12
Chapter 5.2 --- Cooperation with Beijing Cartoon --- p.11
Chapter 5.3 --- Why do they Join the Comics Business --- p.79
Chapter 5.4 --- Agreement and Terms of Payment --- p.87
Chapter 5.5 --- Summer Camping: Market Mechanism and Autonomy in Artists' Creation --- p.88
Chapter 5.6 --- The Editors' Expectation on the Roles of The Artists --- p.96
Chapter 5.7 --- Artists' Comments on the Educational Aspect of Comics --- p.98
Chapter 5.8 --- Concluding Remarks --- p.102
Chapter Chapter 6. --- The Interaction with the Readers and Elders
Chapter 6.1 --- Whom were and Whom are the Comics for? --- p.104
Chapter 6.2 --- Parents and Teachers: Comics for Education --- p.105
Chapter 6.3 --- Parents and Teachers: Sex and Violence in Japanese Comics --- p.107
Chapter 6.4 --- More than Sex and Violence in Japanese Comics --- p.110
Chapter 6.5 --- Nippon´ؤcentric and Militarism of Japanese Comics --- p.115
Chapter 6.6 --- Better Academic Performances and More Choices --- p.115
Chapter 6.7 --- The Popularity of Comics among the Teenagers --- p.118
Chapter 6.8 --- Feedback from the Comics Readers --- p.121
Chapter 6.9 --- The Conflicts: More Education or More Entertainment --- p.122
Chapter 6.10 --- Concluding Remarks --- p.12 5
Chapter Chapter 7. --- Conclusion --- p.127
Appendix
References
Smith, David. "Batman: Arkham Asylum - a cultural icon seen through the looking glass." Thesis, 2016. http://hdl.handle.net/10539/21835.
Повний текст джерелаThis dissertation examines how particular combinations of image and text in sequential art reflect specific social, historical and political contexts. The analysis of how meaning is constructed is done through consideration of three iterations of the Batman superhero character, and argues for an eventual postmodernisation of the character. The first case study presented is the original version of Batman as it debuted in 1939, which naturally established much of the substance from which later depictions would take their cues. The second case study used is the “camp” 1960s TV series starring Adam West, which was influenced by the highly restricted Batman comics under the Comics Code Authority established in 1954. The main case study, and the central focus of this dissertation, is Batman – Arkham Asylum (1989), a graphic novel by Grant Morrison and Dave McKean, the latest of the three iterations, which represents the eventual disruption of the enforced or constructed harmony evident in the earlier versions of the character into a fracturing and fragmentation both of the world and the self. It is a version of Batman that privileges the interiority and psychological complexity of the character, representing a culmination of the 1980s shift toward a more mature audience with its incorporation of horror, violence and mental turmoil. These three examples are compared and contrasted, showing how each constructs a particular meaning using its own unique combination of image and text. Having established a historicity for the character and having constructed an argument for how Batman as a cultural icon echoes shifts in society, the focus of the dissertation is transferred to a deeper analysis of Arkham and attempts to trace more explicitly its status as a postmodern text by examining its fragmentary nature, its use of intertextuality and how meaning in Arkham is constructed in the mind. Following this, an exploration of the central theme of madness in the graphic novel is provided in order to show how the work both critiques the representation of madness in fiction as well as how the liminal setting of the asylum functions as part of the postmodernisation of Batman by creating a “landscape of madness” where irrationality and the uncanny dominate reality, in contrast to the logical, “left-brain” treatment of Batman which had become common prior to Arkham Asylum. The analysis of the three iterations is shaped by WTJ Mitchell’s theories on imagetext relationships and additionally by the principles of sequential art outlined by Scott McCloud. The postmodern theoretical framework is informed by John Docker’s explorations of fragmentation, intertextuality, inversion and the Carnivalesque. Additionally, the writings of Lillian Feder and Michel Foucault will inform the discussion of madness in Arkham.
GR2017
"香港少女讀者閱讀日本愛情漫畫的個案研究". 2006. http://library.cuhk.edu.hk/record=b5896494.
Повний текст джерела"2006年9月"
論文(哲學碩士)--香港中文大學, 2006.
參考文獻(leaves 156-163).
"2006 nian 9 yue"
Abstracts in Chinese and English.
Fang Minyu.
Can kao wen xian (leaves 156-163).
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006.
Chapter 第一章: --- 緒論 --- p.1
硏究簡介 --- p.1
香港漫畫簡況與日本愛情漫畫分類 --- p.3
硏究意義 --- p.5
論文結構 --- p.6
Chapter 第二章: --- 理論基礎 --- p.8
文獻回顧 --- p.8
硏究問題 --- p.25
硏究方法 --- p.27
Chapter 第三章: --- 社會處境分析 --- p.33
日本與香港漫畫發展 --- p.33
日本文化之跨境傳入 --- p.39
Chapter 第四章: --- 日本愛情漫畫文本分析 --- p.49
故事內容分析
Chapter 1. --- 故事結構 --- p.49
Chapter 2. --- 故事劇情 --- p.55
Chapter 3. --- 心理分析 --- p.61
Chapter 4. --- 結局分析 --- p.63
人物分析 --- p.64
愛情觀分析 --- p.74
Chapter 第五章: --- 漫畫使用及訊息接收 --- p.89
漫畫文本使用 --- p.89
漫畫意識形態的影響與接收 --- p.103
漫畫閱讀與論述角力 --- p.114
Chapter 第六章: --- 個案硏究 --- p.123
傳媒的男男漫畫論述 --- p.124
男男文化的協商「抗衡」 --- p.133
Chapter 第七章: --- 總結 --- p.140
核心發現 --- p.140
反思與討論 --- p.149
限制和展望 --- p.151
附件
表一 受訪者基本資料 --- p.153
表二 漫畫文本基本資料 --- p.155
參考 --- p.156
Liu, Ting. "Boys' love in girls' hands : the survival of a gendered youth culture in mainland China and Hong Kong." Phd thesis, 2011. http://hdl.handle.net/1885/150198.
Повний текст джерелаPOZZI, Laura. "The revolution of a little hero : the Sanmao comic strips and the politics of childhood in China, 1935-1962." Doctoral thesis, 2014. http://hdl.handle.net/1814/32121.
Повний текст джерелаDefence date: 7 July 2014
This thesis analyses the production, content and development of cartoonist Zhang Leping's Sanmao comic strips between 1935 and 1962 in the context of the growing political and cultural significance of childhood in twentieth century China. After years of wars and dramatic political changes, Sanmao is still a recognizable visual icon in China today, and his lasting popularity makes him an interesting case-study for understanding the development of cartoon art and the political deployment of the image of the 'child' in China over the twentieth century. This thesis investigates two main problems: firstly, it aims to analyze how through his strips Zhang Leping intervened in contemporary debates about the significance and role of children in the development of the Chinese nation secondly, it follows the transformation of fictional child-hero Sanmao from a commentator on contemporary China in the early 1930s into a sustainer of the Chinese Communist Party after 1949. While Zhang Leping's comic strips have often been considered as a product of political graphic production or as reading material for children, this thesis analyzes the content of Sanmao strips employing childhood as an analytical category in order to understand the role of children in the political and social discourses which took place in China during war and revolution. By analyzing the production of Sanmao comic strips, their relevance in the political context in which they appeared, and the factors which propelled the popularity of the little hero before and after 1949, this thesis shows how the image of Sanmao has changed over time, and how it was ultimately appropriated and reshaped by the CCP in order to fit the party's official vision of history and educational aims.
Foster, John E. (John Elwall). "A critical, social and stylistic study of Australian children's comics." 1989. http://web4.library.adelaide.edu.au/theses/09PH/09phf755.pdf.
Повний текст джерелаMcLain, Karline Marie. "Whose immortal picture stories?: Amar Chitra Katha and the construction of Indian identities." Thesis, 2005. http://hdl.handle.net/2152/1631.
Повний текст джерелаAbraham, Lucie F. "Tintin in the classroom : engaging students in the study of the past through comics." Thesis, 2017. http://hdl.handle.net/1959.7/uws:46379.
Повний текст джерелаJohnson, Tara Jessica. "Representations of trauma in autobiographical graphic narratives." 2014. http://liblink.bsu.edu/uhtbin/catkey/1747403.
Повний текст джерелаAccess to thesis permanently restricted to Ball State community only.
Nagaike, Kazumi. "Japanese women writers watch a boy being beaten by his father : male homosexual fantasies, female sexuality and desire." Thesis, 2004. http://hdl.handle.net/2429/16962.
Повний текст джерелаArts, Faculty of
Asian Studies, Department of
Graduate
Jones, Stephen Matthew. "Frank Miller's Ideals of Heroism." Thesis, 2007. http://hdl.handle.net/1805/898.
Повний текст джерелаTitle from screen (viewed on May 23, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 103-110)